- PrintRoom is closed for the summer from 26 July until August 30
- 29 June 2014: Launch of ‘A Decade of Country Hits: art on the rural frontier’
- 21 – 25 May 2014: PrintRoom at Kunstvlaai, festival for independent art(ist) run initiatives, Amsterdam
- 24 and 25 May 2014: ZINE CAMP @ WORM and PrintRoom
- Friday 14 March 2014, 8 – 10 pm: It Has Begun, Sander Uitdehaag and guests
- Saturday 15 February 2014: Print Takeaway Unlimited, Nadine Stijns and Helmut Smits
- Saturday 25 January 2014: The Dark Pages
- Friday 10 January 2014: The Living Collection, with Charlotte Cheetham, Arnaud Desjardin and David Senior
- Friday 13 December, 8 -10 pm: WRAP UP! books by Ruth van Beek, Antje Peters, Ohad Ben Shimon and David Berridge
- Friday 1 November Eva Olthof and invited artists, Sunday 3 November 2013 Michalis Pichler and guests
- Alauda Publications
- Antje Peters
- BAS – BENT BOOKS
- Boekie Woekie
- Book Works
- Club Donny
- de Player
- From Me To You Publications
- Fucking Good Art
- Han Hoogerbrugge
- J&L BOOKS
- Koen Taselaar
- Lubok Verlag
- Manuela Porceddu
- Max Senden
- Paul Haworth
- Publish and be Damned
- Sam de Groot
- Sea Urchin Editions
- Serge Onnen
- Styrmir Örn Guðmundsson
- True True True
- TTC gallery
Category Archives: Uncategorized
Join us for an intimate gathering to launch A Decade of Country Hits: art on the rural frontier, edited by Margo Handwerker and Richard Saxton, published by Jap Sam Books.
A sunday afternoon with readings, a musical performance, film and slide presentations by artists Richard Saxton and Stuart Hyatt (M12 Collective)and Wapke Feenstra (Myvillages).
Sunday 29 June, 3 – 5 pm at PrintRoom
Schietbaanstraat 17, Rotterdam, NL
Doors open at 3, presentation starts at 3.30 pm
Edited by: Margo Handwerker and Richard Saxton
Featuring works by: Richard Saxton, the municipalWORKSHOP, and the M12 Collective
Graphic design: Peter de Kan/545 pages/softcover/English/23.5 x 17 cm/ISBN 987-94-90322-40-3/ € 35
Publisher: Jap Sam Books
Special launch price: 30 euro
Art has its Billboard charts. They focus mostly on artists and exhibitions in urban centers. A Decade of Country Hits is devoted to uncharted hits thriving instead on rural aesthetics and rural knowledge. This richly illustrated volume documents ten years of collective works initiated by artist Richard Saxton in rural communities around the world, from the American Midwest and Southwest to parts of Europe, Australia, and South America. Impossible to attribute to any one artistic genre, the works archived here explore a growing community of artists and researchers drawn to the rural experience in all its complexity. It resembles a sketchbook: with drawings, photographs, and from the hip accounts in the field, as well as contributions from likeminded artists, musicians, poets, and writers.
A Decade of Country Hits includes an international roster of contributors. It contains interviews with Todd Bockley, co-director of the Center for Social Sculpture; Twink Metzler, founder of Living Room Studios; architectural historian Robert Nauman; and Wapke Feenstra, artist and co-founder of Myvillages. Featured throughout are new collaborations with Zach Boddicker, singer and songwriter for 4H Royalty; Kurt Wagner, singer and songwriter for Lambchop; and Matthew Fluharty, director of Art of the Rural. Providing context for the work are essays by artist Stuart Hyatt, founder of TEAM Records; as well as essays by critics and writers Josh Garrett-Davis, author of Ghost Dances: Proving Up on the Great Plains; Mimi Zeiger, author of New Museums: Contemporary Museum Architecture Around the World, Tiny Houses, and Micro Green; and Enrique Ramirez, whose writing has appeared in Perspecta, Thresholds, AA Files, and elsewhere. In addition are essays by award-winning artists Marjetica Potrč, Chris Sauter, and Fernando García-Dory, founder of A Shepherds School; as well as essays by curators, Ian Hunter, director of the LITTORAL Arts Trust; Marco Marcon, co-founder of International Art Space, and Kirsten Stoltz, programming director of the M12 Collective. The M12 Collective’s recent exhibitions and commissioned works have appeared at the Kalmar Konstmuseum; the 13th International Venice Architecture Biennale; the Chicago Cultural Center, Franklin Street Works; the Wormfarm Institute; the 2011 Australian Biennial spaced: art out of place; and the 2010 Biennial of the Americas.
21 – 25 May 2014: PrintRoom at Kunstvlaai, festival for independent art(ist) run initiatives, Amsterdam
PrintRoom joins the Kunstvlaai 2014!
‘Kunstvlaai is a multi-day celebration of art(ist-run) initiatives. Every two years, Kunstvlaai provides initiatives a platform to meet, discuss, and exchange ideas. This tenth edition takes place in the Amstelpark, an extensive park in Amsterdam. Critical engagement with space and alternative approaches to production and exhibition formats are central for Kunstvlaai 2014, corresponding to its unconventional location.’ (Kunstvlaai 2014)
PrintRoom produces a new edition of Parazine; an occasional
publication focusing on the different aspects of publishing. It is
called ‘Parazine’ as it is distributed as an insert in art
related publications (magazines, catalogues) at local book stores,
kiosks and museum shops.
The Title is Publishing: the Format -Poster, Broadsheet, Zine with contributions by three Dutch artists who are active in the international publishing scene: Ruth van Beek, Sigrid Calon and Erik van der Weijde.
The Different Manifestations of the Initiative:
Various initiatives do not only consist of an exhibition space, but also function as a publishing house, as a sales point for editions, as a studio complex etc. Moderator: Jesse van Winden
initiatives: Onomatopee, PrintRoom, San Serriffe, deSERVICEGARAGE, Wilson Project Space
Various initiatives do not only consist of an exhibition space, but also function as a publishing house, as a sales point for editions, as a studio complex etc. Moderator: Jesse van Winden
initiatives: Onomatopee, PrintRoom, San Serriffe, deSERVICEGARAGE, Wilson Project Space
On the weekend of 24-25th May, WORM, PrintRoom and ReKult present Zine Camp, an open workspace connecting like-minded zinesters and newbies from Rotterdam to their national and international peers. (http://zinecamp.hotglue.me/ text by Eyesberg)
PrintRoom presents a variety of zine-collections with material from different zine-scenes, contemporary as well as historical and a panel discussion with the collectors. On both days people are invited to make their own zines during workshops hosted by Chantal Rens and Basje Boer, and by the PrintRoom team.
For this occasion Enrique Arriaga, curator at Museo del Chopo made a selection from the ‘Fanzinoteca’ collection of the museum.
Christian Greer, Ph.D researcher and lecturer at UvA presents a selection of his American anarcho-esoteric underground zines from the ’60′s ’70′s and ’80′s.
Florian Cramer, Rotterdam University of Applied Sciences and program curator at WORM, made a selection from his Neoist zine collection from the ’80′s and ’90′s, from the UK and Us.
Next to these private collections, we’ll make space for the zines we’ve been collecting over the years at art book fairs in New York, Mexico and at other occasions.
PrintRoom wishes to thank Serge Onnen for connecting us to Enrique in Mexico and for co-selecting zines for the exhibition.
PrintRoom is open on Saturday 24 May from 12 – 6 pm and on Sunday 25 May from 2 – 6 pm.
The Zine Collections exhibition runs until 21 June 2014.
Saturday from 7 – 9 pm at WORM: conversation and talks by Enrique Arriaga (via Skype), Christian Greer and Florian Cramer.
Saturday 3 – 6 pm:
Risography workshop by the PrintRoom team.
This workshop will introduce you to basic stencil printing and zine production.
Each participant will produce their own edition of an A5 16 page (or smaller) zine. You can work on a prepared project or improvise and collaborate.
Please register at firstname.lastname@example.org
Costs: 30€ (materials included)
Sunday 2 – 5 pm
ZINE ONE : INSERT TEXT HERE by Basje Boer & Chantal Rens
Artist Chantal Rens and writer Basje Boer, who both flirt with the absurd on a regular basis, have extensive experience with do-it-yourself publishing. During this workshop they will combine practical tips on how to put together a zine with stimulating ideas on imaginative content, the main question being: How do you combine text with images? What playful or innovative ways can we think up to do this?
Christian Greer began making zine in his early twenties with a series of immense travelogues that he worked on collaboratively with two other college students. In his mid-twenties, he began producing issues of a nameless eight-page zine that featured a photograph of hands in the shape of mudras, symbols, geometric shapes, etc., which acquired the name “sign language”. He collaborated with Ilyn Wong and Sterling Hall on this nameless zine. Now, in addition to putting out a zine entitled “Journal for the Study of Horseplay, Hijinx, and Tomfoolery,” he is conducting PhD research on the intersection of anarchism and occultism in the 1980s North American zine scene.
“zine collection: The number one issue concerning zines is that researchers simply do not know what they do not know! As a zine archivist friend of mine once quipped, “zines represent an entirely undiscovered continent of material culture”. As such, the hardest part of collecting is knowing what it is I am looking for. Although, considering the rarity of esoteric anarchist, or anarchist esotericist zines, I tend to collect somewhat relevant I can get my hands on. I especially focus on zines produced or that feature writers like Hakim Bey (né Peter Lamborn Wilson), Bob Black, and Mike Gunderloy.” (C.G)
Artist Chantal Rens (1981) creates playful, childlike collages, photography and textiles, among other media. She also has a large experience in self-publishing. Her latest artist’s book/zine Kanada contains a collection of collages. In many of her works she appropriates the aesthetics of nostalgia as a disguise for her very contemporary imagery.
Her collages all share an unusual, slightly magical, slightly spastic, slightly menacing quality, as if they were put together by a brilliant but mildly distracted 3rd grader with asocial tendencies. This childlike naturalness of style provides a refreshing counterbalance to Rens’ essentially hardcore surrealistic imagery. Every collage seems governed by an unsettling, vaguely shocking, but nevertheless just barely emotionally decipherable dream logic.
She reuses, arranges, cuts, tears and piles her pictures on top of one another. This results in collages that are illusive, funny, obscene, mysterious, playful and cool. All at the same time.
The main force of these distortions? Our vague recollection of the indivisible remainder. As with any masquerade, the frustration is in the visual obstruction. We are left with a blind spot but what we get in return is a sublime substitution. A good deal, after all.
Basje Boer (1980) is a writer of short stories, essays and poetry. In 2006 a collection of her short stories was published. She also initiated and contributed to several self-publications combining art and poetry. At the moment she’s working on her first novel, which is due in 2015. (Tex Basje Boer)
Join us for an evening on methods and word play in the work of four artists, on the occasion of the launch of:
Het is begonnen (It Has Begun) by Sander Uitdehaag, published by the Lectorate Art Theory & Practice of the Royal Academy The Hague
-Introduction by Janneke Wesseling, head of the Lectorate Art Theory & Practice and art critic
-Contributions by Paul Bogaers, Mercedes Azpilicueta and Ohad Ben Shimon
To write: to try meticulously to retain something, to cause something to survive; to wrest a few precise scraps from the void as it grows, to leave somewhere a furrow, a trace, a mark or a few signs.
- Georges Perec in Species of Spaces
Sander Uitdehaag’s publication Het is begonnen (It Has Begun) is a collection of 11 separate texts, each one a possible beginning to the text that is the sum of these 11 beginnings.
Het is begonnen is inspired by the work of writer Georges Perec. His many novels and stories are extremely different in style and genre, but all of them are examples of constrained writing: Perec is bound by a self-inflicted condition that forbids him things or imposes a pattern.
Among many other works, artist Paul Bogaers is the author of the collage novel Onderlangs (Down Below), a book entirely composed of found sentences, gathered together from a great variety of books. Bogaers will discuss the process of this work and the importance of the constraint in regard to form, content and length of the project.
Passing through the corridors of their private idiom, artists and writers Mercedes Azpilicueta and Ohad Ben Shimon will perform What begins and ends within our own edges, a work swirling around the glycerine currents of their shared snow-globe.
As the Chinese New Year celebrations end with the Lantern Festival, we invite you to join us for the book presentations and exhibition opening of Nadine Stijns and Helmut Smits.
Print Takeaway Unlimited
Saturday 15 February 2014, 5 – 8 pm at PrintRoom
The exhibtion runs until 19 March
Especially for this event we’ll have a one-day only un-limited edition print sale by Nadine Stijns and Helmut Smits.
Choose your favourite number from the menu and for only 25 euro’s you’ll become the happy owner of an almost unique Nadine-Stijns-Floating-Population-Inkjet-Print, printed live, at the scene, just for you.
Helmut Smits will RISO-print on demand an A3 poster based on one of the drawings in his book. Take it away for 25 euro – on 15 February only.
In the early 1980s, upon the opening up of China’s economy under Deng Xiaoping, farmers left their hometowns seeking work in China’s developing cities as a response to the resulting agricultural reforms. These people from China’s vast rural areas are referred to as the ‘floating population’. By visually assembling photographs, video stills and photographed objects like textiles, rubber shoes, construction materials, a sock, piles of postcards and posters and more Nadine Stijns investigates this stream of migrant laborers. With texts by sinologist, journalist and writer Catherine Vuylsteke.
Ideas and Thoughts
The drawings in the small book Ideas and Thoughts by Helmut Smits function as sketches for works to be realised at the right time and the right place. In a direct, linear style they reveal sharp observations, visual puns and playful solutions for coping with our everyday surroundings. Helmut Smits’ work can vary from wall drawings, furniture and product design to conceptual sculptures and public installations. But no matter how big or small the project, it all starts with a small drawing in a book.
Please join us for a late afternoon with a full programme of book presentations and video screenings; The Dark Pages is PrintRoom’s programme as part of the 43rd International Film Festival Rotterdam.
From 5 – 8 pm at PrintRoom
Presentation runs until 8 February
~The Dark Galleries by Steven Jacobs & Lisa Colpaert
~Thing by Anouk De Clercq
~Eine Landschaft der wilden, nackten, grimmigen Menschenfresser-Leute by Maaike Gouwenberg and Joris Lindhout
& The Flip Collection IV ; a selection of PrintRoom’s growing, international collection of flipbooks
For the occasion we selected books by artists and theoreticians who deal with the relations between film, art and history. They will shed some light on darker histories, moving between the age of discoveries and animation, film noir and painting, and between architecture and fiction.
More info on:
The Dark Galleries
Imagine a museum in which the portrait of Carlotta Valdes, an important prop in Alfred Hitchcock’s Vertigo, hangs on a wall next to the painted portrait of the title character of Otto Preminger’s Laura and opposite the uncanny portraits of the desired or murdered women in Fritz Lang’s Scarlet Street, George Cukor’s Gaslight, and Nicholas Ray’s Born to Be Bad. In an adjacent gallery, the visitor of this imaginary museum can contemplate the portraits of patriarchs that feature in films such as House of Strangers, Suspicion, Gilda, and Strangers on a Train. This is precisely the concept of this book. Dark Galleries deals with American (and some British) films of the 1940s and 1950s, in which a painted portrait plays an important part in the plot or the mise-en-scène. Particularly noir crime thrillers, gothic melodramas, and ghost stories feature painted portraits that seem to have a magical power over their beholders. Apart from an extensive introductory essay, this museum guide presents more than eighty entries on the artistic and cinematic aspects of noir painted portraits.
The Noir Art compilation video by Karel de Cock and Steven Jacobs will play at PrintRoom until 8 February.
Nicolas Provost’s film The Dark Galleries is based on the book. It will be screened at the IFFR.
An architect talks about the city he has built. Gradually we realize that the city is imaginary. His account is an attempt to give his ideas a fixed shape. This, in a nutshell, is the story of Thing, a book and video by artist Anouk De Clercq. Thing is part of “The art of ~scaping” , a research project funded by the Research Fund University College Ghent. Thing is the first book in the “The art of ~scaping” series. It accompanies the video Thing, made in collaboration with Scanner (soundtrack) and Scanlabprojects (images), screening at the IFFR. The images in the book are from the video, as is the text, there featured as a monologue.
The Dark Galleries and Thing are published by MER. Paper Kunsthalle and part of the Ara MER series; books with a focus on artistic research.
Eine Landschaft der wilden, nackten, grimmigen Menschenfresser-Leute is a flipbook inspired by the story of Hans Staden, the first German explorer to write about the cannibals living in the Atlantic Rainforest along the coast of Brazil. During their search for the book ‘O gótico Brasileiro’ (Brazilian Gothic), Maaike Gouwenberg and Joris Lindhout looked into the different histories that developed the idea of cultural cannibalism, which became most apparent in the ideas of ‘Antropofagia’, but also in the darker and social political and critical films of José Mojíca Marins aka Zé do Caixão, a true Brazilian Gothic filmmaker.
Eine Landschaft der wilden, nackten, grimmigen Menschenfresser-Leute is PrintRoom Publication # 12
Friday 10 January 2014: The Living Collection, with Charlotte Cheetham, Arnaud Desjardin and David Senior
The Living Collection
Friday 10 January 2014, from 8 – 10 pm at PrintRoom
Charlotte Cheetham (independend curator, Manystuff)
Arnaud Desjardin (publisher The Everyday Press)
David Senior (bibliographer at the MoMA library)
How is artists’ printed matter collected and archived and how can such collections and archives be active, lively hubs of information and education for the medium, serving the specialist as well as the general public?
PrintRoom invited three key players in the field of independent artists’ publishing for a talk on collecting as an activity that moves beyond the limits of creating an archive. Each is a specialist in collecting printed matter and/or information on printed matter and archiving this in some physical or virtual format. Each in their own way extends their role as a collector by creating public projects and situations with and within the medium.
Charlotte Cheetham is a French independent curator. Her work concerns the field of graphic design and its dialogues with art, editorial and curatorial activities.
Her practice consists of creating exhibitions, printed matter and workshops with a focus on relevant topics and questions.
In 2012 she curated the video self-portrait series Slide Shows, with portraits of publishers, artists, designers, booksellers and others working in the field of independent publishing. Slide Shows is commisioned by Fillip.
Manystuff.org, the blog she launched in 2006, promotes a transversal and adventurous approach to graphic design, that comes closely with art, curatorial practices, publishing practices, etc.
Publisher, book dealer, artist and writer, Arnaud Desjardin runs The Everyday Press, an imprint for artist’s publications. Working in collaboration with other artists, curators and writers he facilitates the materialization and dissemination of books, pamphlets and other printed matter. He recently published a rambling reference book on books and reference material about artist’s books released since the early 1970s: The Book on Books on Artists Books.
David Senior is Bibliographer at The Museum of Modern Art Library. He manages collection development of the general holdings of the library as well as the selection of materials for the artists’ books collection. He also regularly organizes exhibitions of MoMA library material. Recent exhibitions have included Scenes from Zagreb: Artists’ Publications of the New Art Practice (2011), Millennium Magazines (2012), an exhibition of contemporary artists’ magazines and Please Come to the Show (2013), a two-part exhibition of special invitation cards and event flyers from the library’s ephemera collections. His writing has recently appeared in Frieze, Bulletins of the Serving Library, A Prior and C Magazine. For the past six years, he has published an artist’s book series through Printed Matter, which includes publications by Dexter Sinister, David Horvitz, Emily Roysdon, Aaron Flint Jamison, Triin Tamm and Eve Fowler.
For the NY Art Book Fair David Senior organises The Classroom, a curated series of conversations, readings and various other events providing an informal venue for artists, writers and publishers to feature current projects and perform their publications.
David Senior was invited to the Netherlands by the Dutch Art Institute, in the framework of Publishing class. PrintRoom wishes to thank the DAI and Casco for sharing their guest with us.
Publishing Class, an imprint of DAI Publications, a collection of artists’ books jointly published by the DAI and CasCo – Office for Art, Design and Theory in collaboration with the Werkplaats Typografie.
Friday 13 December, 8 -10 pm: WRAP UP! books by Ruth van Beek, Antje Peters, Ohad Ben Shimon and David Berridge
Join us for the last presentation night of the year, STARRING:
~Ruth van Beek (NL): The Arrangement, published by RVB Books (Paris)
~Antje Peters (NL/DE): Desserts, published by Automatic Books (Venice)
~Ohad Ben Shimon (NL/IL): 2 blue cups on two different corners of the table, published by Very Small Kitchen (Hastings)
~David Berridge presents VerySmallKitchen
++ more books of these publishers will be available in the shop
++++ a presentation of the books we selected at the NY Art Book Fair, Unseen (Amsterdam), Salon Light #10 (Paris) and Off Print Paris!
‘The Arrangement’ is a group of images Ruth Van Beek made with a collection of books on flower arranging. She has been collecting books on this subject for years, mostly instructional books dating from fifties to the seventies. They combine colourful still lives of flower arrangements with the functional photography of a manual. Ruth Van Beek is especially interested in the translation of the strict rules and symbols of Japanese Ikebana into instructional books for Dutch housewives.
‘Desserts’ straightforwardly presents 15 photographs of pre-manufactured desserts to be found in supermarkets plus an image of an apple (an allusion to one of the symbols for consumer culture). Imagery from 1970s-90s cookbooks inspired Antje Peters’ post-cookbook approach, with a sharp eye for detail and composition. The usually functional and illustrative features of photographs in cookbooks give way to a detached product photography style, with a particular focus on shiny surfaces and vivid colors – like advertisement photography but devoid of slogans and logos.
Ohad Ben Shimon’s ‘2 Blue Cups on Two Different Corners of the Table’ is a collection of diary-like writings that explores the meeting place of autobiography and fiction, introspection and performance, experience and commentary, through unfolding processes of attention and its notation in words. Recalling classic texts like Joe Brainard’s I Remember, it finds its own forms and attitudes for the things, people and places of which, implicated, it tells.
VerySmallKitchen explores connections of language, writing, and art practice. Based in Hastings, England, it curates an ongoing series of blog projects (most recently by Kasper Andreasen, Patrick Coyle, Emma Bolland, Claire Potter and David Price) alongside paperback books (by Ohad Ben Shimon, Nikolai Duffy, seekers of lice, Sarah Jacobs, Rebecca Cremin & Ryan Ormonde). Current interests include varieties of “Poets’ Prose” and the 100 page book as a meeting place of prose, poetry, fiction, essay and performance script.
Friday 1 November Eva Olthof and invited artists, Sunday 3 November 2013 Michalis Pichler and guests
Friday 1 November 2013, 8 – 10 pm:
Do We Ever Know Where History is Really Made?
Book presentation and performances by Jetske de Boer, Eva Olthof, Patrícia Sousa, Marija Šujica and Miek Zwamborn
Sunday 3 November 2013, 3 – 5 pm:
SONNET(S) & OTHER SONNET(S)
Ulises Carrión, Michalis Pichler
Exhibtion opening with installation by Michalis Pichler, a performative reading by Gerrit Jan de Rook, a text contribution by Louis Lüthi and video works by Ulises Carrión.
The presentation runs til 3 December 2013. An extra presentation day with more video works by Ulises Carrión takes place in the last week of the show.
kindly supported by LIMA, Amsterdam, (former NiMK)
please scroll down for more info
More on Do We Ever Know Where History Is Really Made?:
Eva Olthof invited four artists and a graphic designer to think about the question: Do we ever know where history is really made? This question is a reference to the film Sans Soleil (1983) by French filmmaker Chris Marker. In this essay-film the construction of history is addressed. It is a cinematic, philosophical meditation on history and memory and the technologies that chronicle and record it.’
In Do We Ever Know Where History Is Really Made? printed matter and performance are developed parallel to each other during the project. In this way both media can inform, contrast or complete each other. The result is a variation of works that highlight, transform or complement fragments of European history.
Jetske de Boer (NL, 1976) biked from Eemshaven in the north of the Netherlands to Gdansk in Poland and uses her documentation as starting point for new stories in order to connect these seemingly different places.
Eva Olthof (NL, 1983) uses the moment of the collapse of the Historical Archive of the City of Cologne (March 3rd, 2009) as a basis to build another archive, which consists of a growing collection of written memories.
Patrícia Sousa (PT, 1981) reworked the dialogues from the documentary Catembe (1965). Catembe depicts everyday life in Maputo during the Portuguese colonial period and was harshly censored during the Portuguese dictatorship.
Marija Šujica (RS, 1981) uses the famous print Intestinal Tract of a Seated Man by Hans Baldung Grien as a basis to anatomize contemporary forms of labour, such as copper theft.
Miek Zwamborn (NL, 1974) zooms in on two portraits of an unknown nineteenth century British paleontologist, Mary Anning.
The print-works are gathered in a specially designed folder. All print work is conducted in Extrapool’s risograph workshop Knust. The first performance evening took place on September 19th, 2013 at Extrapool Nijmegen.
Do We Ever Know Where History Is Really Made? is part of Extrapool’s guest curator project Gastpost
More info on SONNET(S) & OTHER SONNET(S)
In 1972, Ulises Carrión produced his first artist’s book “SONNET(S)” which consists of a 44 variations of a sonnet by Dante Gabriel Rosetti titled “Heart”s Compass”. Using the language like a material, Carrión writes Rossetti’s poem over and over again on a typewriter, in slightly different versions. This book today is considered Carrión’s first “artists book”, where he still uses language, but quite differently.
In 2009 Michalis Pichler, in a similar approach but using a computer program, probably word or open office, created 44 new variations and published a book titled “SOME MORE SONNET(S)”. The last page of this book announced a multitude of OTHER SONNET(S), mostly imaginary .
The show at PrintRoom sees the realization of “TEN OHP SONNETS” with the use of ten overhead projectors as well as one out of “SEVEN ADVERTISED SONNETS”, published in the Dutch art magazine Metropolis M. This series in progress will either remain unfinished or will have been concluded once seven advertisements have been published, six of them by other galleries.
A selection of other book works by Ulises Carrión and Michalis Pichler will be on display. On occasion of this show PrintRoom has produced a pocket edition of “1111 RISOGRAPHED SONNETS, STAPLED, NUMBERED AND SOLD IN CHUNKS OF 11″, which is available for sale.
The show will also a feature a variety of Ulises Carrión’s video works, among them “Bookworks revisited”, “Aristotle’s Mistake” and “Gossip, Scandal and Good Manners”.
Born in the Mexican town of San Andrés Tuxtla in 1941, Carrión originally had his eyes set on a literary career – his book of short stories with the intriguing title La Muerte de Miss O was published in Mexico in 1966 — but after graduate studies in England, he ended up in Amsterdam where he devoted what remained of his abbreviated life (he died in 1989, from AIDS) to artist’s books (as a maker, seller, archivist and theorist), performance art, mail art, video and film. Carrión is a still elusive figure whom poet Mónica de la Torre recently described in Bomb Magazine as “perhaps Mexico’s most important conceptual artist.”
Publications (selection): For Fans and Scholars Alike, Visual Studies Workshop, Rochester, 1987, In Alphabetical Order, Cres/Agora Studio, Amsterdam/ Maastricht , 1979, Arguments, Beau Geste Press, Devon, 1973, Looking For Poetry/ Tras la Poesía, Beau Geste Press, Devon, 1973, Tell me what sort of wallpaper your room has and I will tell you who you are, In-Out Productions, Amsterdam, 1973, SONNET(S), In-Out Productions, Amsterdam, 1972
Michalis Pichler is a Berlin-based poet and artist who graduated as an architect after studies in Berlin, Athens and New York. He loves books and ideas and is cofounder of the annual Berlin artist book fair www.missread.net. Recent shows and readings include The Power Plant, Toronto, Kunsthalle Wien, Christophe Daviet-Thery, Paris, FRAC Marseille, MCA Denver, Literaturwerkstatt, Berlin, Overgaden, Kopenhagen and MoMA PS1, NY.
Publications (selection): SOME MORE SONNET(S), “greatest hits”, Berlin 2009/2012, Der Einzige und sein Eigentum, “greatest hits”, Berlin 2009; TWENTYSIX GASOLINE STATIONS, Printed Matter, Inc, NY 2009; Un coup de dés jamais n’abolira le hasard (sculpture), “greatest hits”, Berlin 2008; Hearts, Revolver, Frankfurt 2008; Working Drawings and Other Visible Things on Paper Not Necessarily Meant To Be Viewed, cneai, Chatou 2008.
Louis Lüthi is an Amsterdam-based graphic designer and writer. In his fictional story Infant A he follows Ulises Carrión as he walks on the High Line in Chelsea, discussing two books simply titled A. Infant A is published by Paraguay Press, as part of their serie The Social Life of the Book.
Gerrit Jan de Rook is an art historian and freelance exhibition maker, The Hague. You can read his article for Metropolis M on Ulises Carrión here.
Gerrit Jan de Rook presents in a performative way Carrión’s book ‘Tell Me what Sort of Wall Paper Your Room Has and I Will Tell You who You are’.